My aim is to offer insights into some of the more subtle principles underpinning prints. The commentary is based on thirty-eight years of teaching and the prints and other collectables that I am focusing on are those which I have acquired over the years.
In the galleries of prints (accessed by clicking the links immediately below) I am also adding fresh images offered for sale. If you get lost in the maze of links, simply click the "home" button to return to the blog discussions.

Gallery of prints for sale

Saturday, 24 September 2016

Pietro Monaco’s etching (with engraving) of Adam and Eve

Pietro Monaco (1707–72)

“La colpa de
primi padri” (The fault of the first parents or Adam and Eve), 1741–52, from the
series, “Raccolta di 112 stampe di pitture della storia sacra” (Collection of
112 prints of paintings of sacred history), after Jacopo Tintoretto (1519–94),
published in Venice.

Etching with
engraving on laid paper trimmed on or slightly within the platemark and lined
on a conservator’s fine (millennium quality) washi paper support sheet.

Condition: an
extremely rare, large and marvellously crisp impression in superb condition for
its age (i.e. there are no stains, holes, abrasions or foxing). Nevertheless,
there is a centre-fold tear that has been stabilised and made virtually
invisible by the lining of the print on a conservator’s washi paper support sheet
and there are pencil numbers from a former collector on the lower corners
(recto). The sheet has been trimmed on or slightly within the platemarks.

I am selling
this very impressive original etching by an 18th century master
printmaker for AU$259 in total (currently US$197.32/EUR176.02/GBP152.34 at the
time of posting this listing) including postage and handling to anywhere in the
world. If you are interested in purchasing this masterwork that is seldom seen
on the market, please contact me (oz_jim@printsandprinciples.com) and I will
send you a PayPal invoice to make the payment easy.

This print has been sold

This is a rare
print and even rarer regarding its superb condition for its large size. Such
grand prints are inevitably soiled, stained, abraded, worm-holed and show
significant signs of handling, especially considering that it was executed nearly
300 years ago.

From a
technical standpoint, Monaco's print showcases the subtle mastery of 18th
century engravers in Venice. For example, note how Monaco is able to describe
using only line how the trees behind Adam and Eve fade into the light. Such
technical virtuosity to create a tonal transition of this delicacy is only achieved by the gentlest of changes to pressure on
the engraver’s burin.

What I love
about this print is the sparkle of dappled light falling over the figures.
Although Monaco may have been translating the tones of Tintoretto’s painting in
this print, to my eyes this captured sparkle is all about the bouncing
light of Venice—a light that both Monaco and Tintoretto were very familiar.